y the time Captain Scarlet and the Mysterons premiered on British television in 1967, through such shows as Supercar and Fireball XL5, Gerry Anderson had already established his unique "Supermarionation" style as a viable science-fiction storytelling technique. That acceptance, coupled with significant advances in puppet technology, allowed him to craft more complex plots for his new adventure. As a result, the boisterous tunes collaborating composer Barry Gray had penned for past programs were, for the most part, too cheerful for this darker tale, necessitating a fresh but still familiar instrumental approach that's splendidly showcased on this collection.
While many of the 20 tracks on the CD—the second platter in a planned multivolume series devoted to the miscellaneous "Supermarionation" scores—are comparatively pugnacious, they're also powerful and persuasive. Suites dedicated to episodes like "Winged Assassin" and "Manhunt" are solidly threatening, interweaving martial motifs with ill-omened interludes, just as the brisk "Expo 2068" and "Fire at Rig 15" are punctuated with understated yet ominous moments. Other works are more relaxed, including "Until Midnight," a luxurious, lounge-infused source cue originally recorded for Thunderbirds, and "Commercial Break," a brief assortment of Captain Scarlet-themed jingles penned, believe it or not, to promote Popsicles.
Along with the requisite "Titles Music" medley and a pop rendition of the show's end titles, the disc contains two "bonus tracks" highlighting alternate versions of the organ-driven "White As Snow" and, inexplicably fused into a single cut, "Main Titles With Opening Narration" and "Captain Scarlet Theme." The lengthy liner notes provide the first chapter of a protracted Gray biography, together with a detailed analysis of each selection.
Mature marionette melodies
From a musical perspective, Captain Scarlet and the Mysterons presents a curious predicament. Though not traditionally animated, the program's images possess cartoon aspects that demand frivolous harmonic flourishes, while the intimidating, relatively progressive storylines call for deeper accents. Balancing these needs is, at best, tricky, requiring compositional acumen and expertise. Gray masterfully accomplishes this feat, formulating works that are at once effervescent and emotional.
"Model Spy" is a superb piece, intermingling frenetic tones with spirited sequences and, now and again, delightful dashes of licentious longing. The opening movement, subtitled "Models on a Train," uses stark brass, shuddering strings and subdued percussion to convey the fear felt by two gorgeous women trapped on an out-of-control monorail. At the same time, the work slyly transmits a slinky sophistication that hints at the decidedly adult attitudes of the key characters. The track's closing section, crafted from two separate incidental cues, incorporates elegant flute and bass to further build upon this stylish—and unequivocally lustful—luster. "Avalanche" is another standout cut, opening with a carefree simplicity that hurriedly becomes harried, just as the violins and reverberant Middle Eastern motifs of "Attack on Cloudbase" creatively suggest exotic intrigue.
Separate themes for Captain Scarlet and the extraterrestrial Mysterons wind through the numbers, ingeniously unifying the sundry selections. There's some distortion on a few tunes, but, by and large, the overall sound quality is surprisingly solid. Although at times exaggerated, the music of Captain Scarlet and the Mysterons remains among Gray's most developed and delightful "Supermarionation" scores, blending a mature melodic approach with undeniably infectious enthusiasm.
